document_title: Statue of Liberty

question_text: when was statue of liberty brought to us

question_tokens: when was statue of liberty brought to us

text: Statue of Liberty

text: Design and construction process

text: Origin

text: According to the National Park Service, the idea for the Statue of Liberty was first proposed by Édouard René de Laboulaye the president of the French Anti-Slavery Society and a prominent and important political thinker of his time. The project is traced to a mid-1865 conversation between de Laboulaye, a staunch abolitionist and Frédéric Bartholdi, a sculptor. In after-dinner conversation at his home near Versailles, Laboulaye, an ardent supporter of the Union in the American Civil War, is supposed to have said: "If a monument should rise in the United States, as a memorial to their independence, I should think it only natural if it were built by united effort—a common work of both our nations."[7] The National Park Service, in a 2000 report, however, deemed this a legend traced to an 1885 fundraising pamphlet, and that the statue was most likely conceived in 1870.[8] In another essay on their website, the Park Service suggested that Laboulaye was minded to honor the Union victory and its consequences, "With the abolition of slavery and the Union's victory in the Civil War in 1865, Laboulaye's wishes of freedom and democracy were turning into a reality in the United States. In order to honor these achievements, Laboulaye proposed that a gift be built for the United States on behalf of France. Laboulaye hoped that by calling attention to the recent achievements of the United States, the French people would be inspired to call for their own democracy in the face of a repressive monarchy."[9]

text: According to sculptor Frédéric Auguste Bartholdi, who later recounted the story, Laboulaye's comment was not intended as a proposal, but it inspired Bartholdi.[7] Given the repressive nature of the regime of Napoleon III, Bartholdi took no immediate action on the idea except to discuss it with Laboulaye. Bartholdi was in any event busy with other possible projects; in the late 1860s, he approached Isma'il Pasha, Khedive of Egypt, a plan to build Progress or Egypt Carrying the Light to Asia,[10] a huge lighthouse in the form of an ancient Egyptian female fellah or peasant, robed and holding a torch aloft, at the northern entrance to the Suez Canal in Port Said. Sketches and models were made of the proposed work, though it was never erected. There was a classical precedent for the Suez proposal, the Colossus of Rhodes: an ancient bronze statue of the Greek god of the sun, Helios. This statue is believed to have been over 100 feet (30 m) high, and it similarly stood at a harbor entrance and carried a light to guide ships.[11]

text: Any large project was further delayed by the Franco-Prussian War, in which Bartholdi served as a major of militia. In the war, Napoleon III was captured and deposed. Bartholdi's home province of Alsace was lost to the Prussians, and a more liberal republic was installed in France.[7] As Bartholdi had been planning a trip to the United States, he and Laboulaye decided the time was right to discuss the idea with influential Americans.[12] In June 1871, Bartholdi crossed the Atlantic, with letters of introduction signed by Laboulaye.[13]

text: Arriving at New York Harbor, Bartholdi focused on Bedloe's Island (now named Liberty Island) as a site for the statue, struck by the fact that vessels arriving in New York had to sail past it. He was delighted to learn that the island was owned by the United States government—it had been ceded by the New York State Legislature in 1800 for harbor defense. It was thus, as he put it in a letter to Laboulaye: "land common to all the states."[14] As well as meeting many influential New Yorkers, Bartholdi visited President Ulysses S. Grant, who assured him that it would not be difficult to obtain the site for the statue.[15] Bartholdi crossed the United States twice by rail, and met many Americans who he thought would be sympathetic to the project.[13] But he remained concerned that popular opinion on both sides of the Atlantic was insufficiently supportive of the proposal, and he and Laboulaye decided to wait before mounting a public campaign.[16]

text: Bartholdi had made a first model of his concept in 1870.[17] The son of a friend of Bartholdi's, American artist John LaFarge, later maintained that Bartholdi made the first sketches for the statue during his U.S. visit at La Farge's Rhode Island studio. Bartholdi continued to develop the concept following his return to France.[17] He also worked on a number of sculptures designed to bolster French patriotism after the defeat by the Prussians. One of these was the Lion of Belfort, a monumental sculpture carved in sandstone below the fortress of Belfort, which during the war had resisted a Prussian siege for over three months. The defiant lion, 73 feet (22 m) long and half that in height, displays an emotional quality characteristic of Romanticism, which Bartholdi would later bring to the Statue of Liberty.[18]

text: Design, style, and symbolism

text: Bartholdi and Laboulaye considered how best to express the idea of American liberty.[19] In early American history, two female figures were frequently used as cultural symbols of the nation.[20] One of these symbols, the personified Columbia, was seen as an embodiment of the United States in the manner that Britannia was identified with the United Kingdom and Marianne came to represent France. Columbia had supplanted the earlier figure of an Indian princess, which had come to be regarded as uncivilized and derogatory toward Americans.[20] The other significant female icon in American culture was a representation of Liberty, derived from Libertas, the goddess of freedom widely worshipped in ancient Rome, especially among emancipated slaves. A Liberty figure adorned most American coins of the time,[19] and representations of Liberty appeared in popular and civic art, including Thomas Crawford's Statue of Freedom (1863) atop the dome of the United States Capitol Building.[19]

text: Artists of the 18th and 19th centuries striving to evoke republican ideals commonly used representations of Libertas as an allegorical symbol.[19] A figure of Liberty was also depicted on the Great Seal of France.[19] However, Bartholdi and Laboulaye avoided an image of revolutionary liberty such as that depicted in Eugène Delacroix's famed Liberty Leading the People (1830). In this painting, which commemorates France's Revolution of 1830, a half-clothed Liberty leads an armed mob over the bodies of the fallen.[20] Laboulaye had no sympathy for revolution, and so Bartholdi's figure would be fully dressed in flowing robes.[20] Instead of the impression of violence in the Delacroix work, Bartholdi wished to give the statue a peaceful appearance and chose a torch, representing progress, for the figure to hold.[21]

text: Crawford's statue was designed in the early 1850s. It was originally to be crowned with a pileus, the cap given to emancipated slaves in ancient Rome. Secretary of War Jefferson Davis, a Southerner who would later serve as President of the Confederate States of America, was concerned that the pileus would be taken as an abolitionist symbol. He ordered that it be changed to a helmet.[22] Delacroix's figure wears a pileus,[20] and Bartholdi at first considered placing one on his figure as well. Instead, he used a diadem, or crown, to top its head.[23] In so doing, he avoided a reference to Marianne, who invariably wears a pileus.[24] The seven rays form a halo or aureole.[25] They evoke the sun, the seven seas, and the seven continents,[26] and represent another means, besides the torch, whereby Liberty enlightens the world.[21]

text: Bartholdi's early models were all similar in concept: a female figure in neoclassical style representing liberty, wearing a stola and pella (gown and cloak, common in depictions of Roman goddesses) and holding a torch aloft. According to popular accounts, the face was modeled after that of Charlotte Beysser Bartholdi, the sculptor's mother,[27] but Regis Huber, the curator of the Bartholdi Museum is on record as saying that this, as well as other similar speculations, have no basis in fact.[28] He designed the figure with a strong, uncomplicated silhouette, which would be set off well by its dramatic harbor placement and allow passengers on vessels entering New York Bay to experience a changing perspective on the statue as they proceeded toward Manhattan. He gave it bold classical contours and applied simplified modeling, reflecting the huge scale of the project and its solemn purpose.[21] Bartholdi wrote of his technique:

text: The surfaces should be broad and simple, defined by a bold and clear design, accentuated in the important places. The enlargement of the details or their multiplicity is to be feared. By exaggerating the forms, in order to render them more clearly visible, or by enriching them with details, we would destroy the proportion of the work. Finally, the model, like the design, should have a summarized character, such as one would give to a rapid sketch. Only it is necessary that this character should be the product of volition and study, and that the artist, concentrating his knowledge, should find the form and the line in its greatest simplicity.[29]

text: Bartholdi made alterations in the design as the project evolved. Bartholdi considered having Liberty hold a broken chain, but decided this would be too divisive in the days after the Civil War. The erected statue does rise over a broken chain, half-hidden by her robes and difficult to see from the ground.[23] Bartholdi was initially uncertain of what to place in Liberty's left hand; he settled on a tabula ansata,[30] used to evoke the concept of law.[31] Though Bartholdi greatly admired the United States Constitution, he chose to inscribe "JULY IV MDCCLXXVI" on the tablet, thus associating the date of the country's Declaration of Independence with the concept of liberty.[30]

text: Bartholdi interested his friend and mentor, architect Eugène Viollet-le-Duc, in the project.[28] As chief engineer,[28] Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored.[32] After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers.[28][33] An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick. Bartholdi had decided on a height of just over 151 feet (46 m) for the statue, double that of Italy's Sancarlone and the German statue of Arminius, both made with the same method.[34]

text: Announcement and early work

text: By 1875, France was enjoying improved political stability and a recovering postwar economy. Growing interest in the upcoming Centennial Exposition in Philadelphia led Laboulaye to decide it was time to seek public support.[35] In September 1875, he announced the project and the formation of the Franco-American Union as its fundraising arm. With the announcement, the statue was given a name, Liberty Enlightening the World.[36] The French would finance the statue; Americans would be expected to pay for the pedestal.[37] The announcement provoked a generally favorable reaction in France, though many Frenchmen resented the United States for not coming to their aid during the war with Prussia.[36] French monarchists opposed the statue, if for no other reason than it was proposed by the liberal Laboulaye, who had recently been elected a senator for life.[37] Laboulaye arranged events designed to appeal to the rich and powerful, including a special performance at the Paris Opera on April 25, 1876, that featured a new cantata by composer Charles Gounod. The piece was titled La Liberté éclairant le monde, the French version of the statue's announced name.[36]

text: Despite its initial focus on the elites, the Union was successful in raising funds from across French society. Schoolchildren and ordinary citizens gave, as did 181 French municipalities. Laboulaye's political allies supported the call, as did descendants of the French contingent in the American Revolutionary War. Less idealistically, contributions came from those who hoped for American support in the French attempt to build the Panama Canal. The copper may have come from multiple sources and some of it is said to have come from a mine in Visnes, Norway,[38] though this has not been conclusively determined after testing samples.[39] According to Cara Sutherland in her book on the statue for the Museum of the City of New York, 90,800 kilos (200,000 pounds) was needed to build the statue, and the French copper industrialist Eugène Secrétan donated 58,100 kilos (128,000 pounds) of copper.[40]

text: Although plans for the statue had not been finalized, Bartholdi moved forward with fabrication of the right arm, bearing the torch, and the head. Work began at the Gaget, Gauthier & Co. workshop.[41] In May 1876, Bartholdi traveled to the United States as a member of a French delegation to the Centennial Exhibition,[42] and arranged for a huge painting of the statue to be shown in New York as part of the Centennial festivities.[43] The arm did not arrive in Philadelphia until August; because of its late arrival, it was not listed in the exhibition catalogue, and while some reports correctly identified the work, others called it the "Colossal Arm" or "Bartholdi Electric Light". The exhibition grounds contained a number of monumental artworks to compete for fairgoers' interest, including an outsized fountain designed by Bartholdi.[44] Nevertheless, the arm proved popular in the exhibition's waning days, and visitors would climb up to the balcony of the torch to view the fairgrounds.[45] After the exhibition closed, the arm was transported to New York, where it remained on display in Madison Square Park for several years before it was returned to France to join the rest of the statue.[45]

text: During his second trip to the United States, Bartholdi addressed a number of groups about the project, and urged the formation of American committees of the Franco-American Union.[46] Committees to raise money to pay for the foundation and pedestal were formed in New York, Boston, and Philadelphia.[47] The New York group eventually took on most of the responsibility for American fundraising and is often referred to as the "American Committee".[48] One of its members was 19-year-old Theodore Roosevelt, the future governor of New York and president of the United States.[46] On March 3, 1877, on his final full day in office, President Grant signed a joint resolution that authorized the President to accept the statue when it was presented by France and to select a site for it. President Rutherford B. Hayes, who took office the following day, selected the Bedloe's Island site that Bartholdi had proposed.[49]

text: Construction in France

text: On his return to Paris in 1877, Bartholdi concentrated on completing the head, which was exhibited at the 1878 Paris World's Fair. Fundraising continued, with models of the statue put on sale. Tickets to view the construction activity at the Gaget, Gauthier & Co. workshop were also offered.[50] The French government authorized a lottery; among the prizes were valuable silver plate and a terracotta model of the statue. By the end of 1879, about 250,000 francs had been raised.[51]

text: The head and arm had been built with assistance from Viollet-le-Duc, who fell ill in 1879. He soon died, leaving no indication of how he intended to transition from the copper skin to his proposed masonry pier.[52] The following year, Bartholdi was able to obtain the services of the innovative designer and builder Gustave Eiffel.[50] Eiffel and his structural engineer, Maurice Koechlin, decided to abandon the pier and instead build an iron truss tower. Eiffel opted not to use a completely rigid structure, which would force stresses to accumulate in the skin and lead eventually to cracking. A secondary skeleton was attached to the center pylon, then, to enable the statue to move slightly in the winds of New York Harbor and as the metal expanded on hot summer days, he loosely connected the support structure to the skin using flat iron bars[28] which culminated in a mesh of metal straps, known as "saddles", that were riveted to the skin, providing firm support. In a labor-intensive process, each saddle had to be crafted individually.[53][54] To prevent galvanic corrosion between the copper skin and the iron support structure, Eiffel insulated the skin with asbestos impregnated with shellac.[55]

text: Eiffel's design made the statue one of the earliest examples of curtain wall construction, in which the exterior of the structure is not load bearing, but is instead supported by an interior framework. He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown.[56] Access to an observation platform surrounding the torch was also provided, but the narrowness of the arm allowed for only a single ladder, 40 feet (12 m) long.[57] As the pylon tower arose, Eiffel and Bartholdi coordinated their work carefully so that completed segments of skin would fit exactly on the support structure.[58] The components of the pylon tower were built in the Eiffel factory in the nearby Parisian suburb of Levallois-Perret.[59]

text: The change in structural material from masonry to iron allowed Bartholdi to change his plans for the statue's assembly. He had originally expected to assemble the skin on-site as the masonry pier was built; instead he decided to build the statue in France and have it disassembled and transported to the United States for reassembly in place on Bedloe's Island.[60]

text: In a symbolic act, the first rivet placed into the skin, fixing a copper plate onto the statue's big toe, was driven by United States Ambassador to France Levi P. Morton.[61] The skin was not, however, crafted in exact sequence from low to high; work proceeded on a number of segments simultaneously in a manner often confusing to visitors.[62] Some work was performed by contractors—one of the fingers was made to Bartholdi's exacting specifications by a coppersmith in the southern French town of Montauban.[63] By 1882, the statue was complete up to the waist, an event Barthodi celebrated by inviting reporters to lunch on a platform built within the statue.[64] Laboulaye died in 1883. He was succeeded as chairman of the French committee by Ferdinand de Lesseps, builder of the Suez Canal. The completed statue was formally presented to Ambassador Morton at a ceremony in Paris on July 4, 1884, and de Lesseps announced that the French government had agreed to pay for its transport to New York.[65] The statue remained intact in Paris pending sufficient progress on the pedestal; by January 1885, this had occurred and the statue was disassembled and crated for its ocean voyage.[66]

text: The committees in the United States faced great difficulties in obtaining funds for the construction of the pedestal. The Panic of 1873 had led to an economic depression that persisted through much of the decade. The Liberty statue project was not the only such undertaking that had difficulty raising money: construction of the obelisk later known as the Washington Monument sometimes stalled for years; it would ultimately take over three-and-a-half decades to complete.[67] There was criticism both of Bartholdi's statue and of the fact that the gift required Americans to foot the bill for the pedestal. In the years following the Civil War, most Americans preferred realistic artworks depicting heroes and events from the nation's history, rather than allegorical works like the Liberty statue.[67] There was also a feeling that Americans should design American public works—the selection of Italian-born Constantino Brumidi to decorate the Capitol had provoked intense criticism, even though he was a naturalized U.S. citizen.[68] Harper's Weekly declared its wish that "M. Bartholdi and our French cousins had 'gone the whole figure' while they were about it, and given us statue and pedestal at once."[69] The New York Times stated that "no true patriot can countenance any such expenditures for bronze females in the present state of our finances."[70] Faced with these criticisms, the American committees took little action for several years.[70]

text: Design

text: The foundation of Bartholdi's statue was to be laid inside Fort Wood, a disused army base on Bedloe's Island constructed between 1807 and 1811. Since 1823, it had rarely been used, though during the Civil War, it had served as a recruiting station.[71] The fortifications of the structure were in the shape of an eleven-point star. The statue's foundation and pedestal were aligned so that it would face southeast, greeting ships entering the harbor from the Atlantic Ocean.[72] In 1881, the New York committee commissioned Richard Morris Hunt to design the pedestal. Within months, Hunt submitted a detailed plan, indicating that he expected construction to take about nine months.[73] He proposed a pedestal 114 feet (35 m) in height; faced with money problems, the committee reduced that to 89 feet (27 m).[74]

text: Hunt's pedestal design contains elements of classical architecture, including Doric portals, as well as some elements influenced by Aztec architecture.[28] The large mass is fragmented with architectural detail, in order to focus attention on the statue.[74] In form, it is a truncated pyramid, 62 feet (19 m) square at the base and 39.4 feet (12.0 m) at the top. The four sides are identical in appearance. Above the door on each side, there are ten disks upon which Bartholdi proposed to place the coats of arms of the states (between 1876 and 1889, there were 38 U.S. states), although this was not done. Above that, a balcony was placed on each side, framed by pillars. Bartholdi placed an observation platform near the top of the pedestal, above which the statue itself rises.[75] According to author Louis Auchincloss, the pedestal "craggily evokes the power of an ancient Europe over which rises the dominating figure of the Statue of Liberty".[74] The committee hired former army General Charles Pomeroy Stone to oversee the construction work.[76] Construction on the 15-foot-deep (4.6 m) foundation began in 1883, and the pedestal's cornerstone was laid in 1884.[73] In Hunt's original conception, the pedestal was to have been made of solid granite. Financial concerns again forced him to revise his plans; the final design called for poured concrete walls, up to 20 feet (6.1 m) thick, faced with granite blocks.[77][78] This Stony Creek granite came from the Beattie Quarry in Branford, Connecticut.[79] The concrete mass was the largest poured to that time.[78]

text: Norwegian immigrant civil engineer Joachim Goschen Giæver designed the structural framework for the Statue of Liberty. His work involved design computations, detailed fabrication and construction drawings, and oversight of construction. In completing his engineering for the statue's frame, Giæver worked from drawings and sketches produced by Gustave Eiffel.[80]

text: Fundraising

text: Fundraising for the statue had begun in 1882. The committee organized a large number of money-raising events.[81] As part of one such effort, an auction of art and manuscripts, poet Emma Lazarus was asked to donate an original work. She initially declined, stating she could not write a poem about a statue. At the time, she was also involved in aiding refugees to New York who had fled anti-Semitic pogroms in eastern Europe. These refugees were forced to live in conditions that the wealthy Lazarus had never experienced. She saw a way to express her empathy for these refugees in terms of the statue.[82] The resulting sonnet, "The New Colossus", including the iconic lines "Give me your tired, your poor/Your huddled masses yearning to breathe free", is uniquely identified with the Statue of Liberty and is inscribed on a plaque in the museum in its base.[83]

text: Even with these efforts, fundraising lagged. Grover Cleveland, the governor of New York, vetoed a bill to provide $50,000 for the statue project in 1884. An attempt the next year to have Congress provide $100,000, sufficient to complete the project, also failed. The New York committee, with only $3,000 in the bank, suspended work on the pedestal. With the project in jeopardy, groups from other American cities, including Boston and Philadelphia, offered to pay the full cost of erecting the statue in return for relocating it.[84]

text: Joseph Pulitzer, publisher of the New York World, a New York newspaper, announced a drive to raise $100,000—the equivalent of $2.3 million today.[85] Pulitzer pledged to print the name of every contributor, no matter how small the amount given.[86] The drive captured the imagination of New Yorkers, especially when Pulitzer began publishing the notes he received from contributors. "A young girl alone in the world" donated "60 cents, the result of self denial."[87] One donor gave "five cents as a poor office boy's mite toward the Pedestal Fund." A group of children sent a dollar as "the money we saved to go to the circus with."[88] Another dollar was given by a "lonely and very aged woman."[87] Residents of a home for alcoholics in New York's rival city of Brooklyn—the cities would not merge until 1898—donated $15; other drinkers helped out through donation boxes in bars and saloons.[89] A kindergarten class in Davenport, Iowa, mailed the World a gift of $1.35.[87] As the donations flooded in, the committee resumed work on the pedestal.[90]

text: Construction

text: On June 17, 1885, the French steamer Isère, laden with the Statue of Liberty, reached the New York port safely. New Yorkers displayed their new-found enthusiasm for the statue, as the French vessel arrived with the crates holding the disassembled statue on board. Two hundred thousand people lined the docks and hundreds of boats put to sea to welcome the Isère.[91] [92] After five months of daily calls to donate to the statue fund, on August 11, 1885, the World announced that $102,000 had been raised from 120,000 donors, and that 80 percent of the total had been received in sums of less than one dollar.[93]

text: Even with the success of the fund drive, the pedestal was not completed until April 1886. Immediately thereafter, reassembly of the statue began. Eiffel's iron framework was anchored to steel I-beams within the concrete pedestal and assembled.[94] Once this was done, the sections of skin were carefully attached.[95] Due to the width of the pedestal, it was not possible to erect scaffolding, and workers dangled from ropes while installing the skin sections. Nevertheless, no one died during the construction.[96] Bartholdi had planned to put floodlights on the torch's balcony to illuminate it; a week before the dedication, the Army Corps of Engineers vetoed the proposal, fearing that ships' pilots passing the statue would be blinded. Instead, Bartholdi cut portholes in the torch—which was covered with gold leaf—and placed the lights inside them.[97] A power plant was installed on the island to light the torch and for other electrical needs.[98] After the skin was completed, renowned landscape architect Frederick Law Olmsted, co-designer of New York's Central Park and Brooklyn's Prospect Park, supervised a cleanup of Bedloe's Island in anticipation of the dedication.[99]

text: Dedication

text: A ceremony of dedication was held on the afternoon of October 28, 1886. President Grover Cleveland, the former New York governor, presided over the event.[100] On the morning of the dedication, a parade was held in New York City; estimates of the number of people who watched it ranged from several hundred thousand to a million. President Cleveland headed the procession, then stood in the reviewing stand to see bands and marchers from across America. General Stone was the grand marshal of the parade. The route began at Madison Square, once the venue for the arm, and proceeded to the Battery at the southern tip of Manhattan by way of Fifth Avenue and Broadway, with a slight detour so the parade could pass in front of the World building on Park Row. As the parade passed the New York Stock Exchange, traders threw ticker tape from the windows, beginning the New York tradition of the ticker-tape parade.[101]

text: A nautical parade began at 12:45 p.m., and President Cleveland embarked on a yacht that took him across the harbor to Bedloe's Island for the dedication.[102] De Lesseps made the first speech, on behalf of the French committee, followed by the chairman of the New York committee, Senator William M. Evarts. A French flag draped across the statue's face was to be lowered to unveil the statue at the close of Evarts's speech, but Bartholdi mistook a pause as the conclusion and let the flag fall prematurely. The ensuing cheers put an end to Evarts's address.[101] President Cleveland spoke next, stating that the statue's "stream of light shall pierce the darkness of ignorance and man's oppression until Liberty enlightens the world".[103] Bartholdi, observed near the dais, was called upon to speak, but he declined. Orator Chauncey M. Depew concluded the speechmaking with a lengthy address.[104]

text: No members of the general public were permitted on the island during the ceremonies, which were reserved entirely for dignitaries. The only females granted access were Bartholdi's wife and de Lesseps's granddaughter; officials stated that they feared women might be injured in the crush of people. The restriction offended area suffragists, who chartered a boat and got as close as they could to the island. The group's leaders made speeches applauding the embodiment of Liberty as a woman and advocating women's right to vote.[103] A scheduled fireworks display was postponed until November 1 because of poor weather.[105]

text: Shortly after the dedication, The Cleveland Gazette, an African American newspaper, suggested that the statue's torch not be lit until the United States became a free nation "in reality":

text: "Liberty enlightening the world," indeed! The expression makes us sick. This government is a howling farce. It can not or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme.[106]

text: After dedication

text: Lighthouse Board and War Department (1886–1933)

text: When the torch was illuminated on the evening of the statue's dedication, it produced only a faint gleam, barely visible from Manhattan. The World characterized it as "more like a glowworm than a beacon."[98] Bartholdi suggested gilding the statue to increase its ability to reflect light, but this proved too expensive. The United States Lighthouse Board took over the Statue of Liberty in 1887 and pledged to install equipment to enhance the torch's effect; in spite of its efforts, the statue remained virtually invisible at night. When Bartholdi returned to the United States in 1893, he made additional suggestions, all of which proved ineffective. He did successfully lobby for improved lighting within the statue, allowing visitors to better appreciate Eiffel's design.[98] In 1901, President Theodore Roosevelt, once a member of the New York committee, ordered the statue's transfer to the War Department, as it had proved useless as a lighthouse.[107] A unit of the Army Signal Corps was stationed on Bedloe's Island until 1923, after which military police remained there while the island was under military jurisdiction.[108]

text: The statue rapidly became a landmark. Many immigrants who entered through New York saw it as a welcoming sight. Oral histories of immigrants record their feelings of exhilaration on first viewing the Statue of Liberty. One immigrant who arrived from Greece recalled,

text: I saw the Statue of Liberty. And I said to myself, "Lady, you're such a beautiful! [sic] You opened your arms and you get all the foreigners here. Give me a chance to prove that I am worth it, to do something, to be someone in America." And always that statue was on my mind.[109]

text: Originally, the statue was a dull copper color, but shortly after 1900 a green patina, also called verdigris, caused by the oxidation of the copper skin, began to spread. As early as 1902 it was mentioned in the press; by 1906 it had entirely covered the statue.[110] Believing that the patina was evidence of corrosion, Congress authorized US$62,800 (equivalent to $1,673,969 in 2016) for various repairs, and to paint the statue both inside and out.[111] There was considerable public protest against the proposed exterior painting.[112] The Army Corps of Engineers studied the patina for any ill effects to the statue and concluded that it protected the skin, "softened the outlines of the Statue and made it beautiful."[113] The statue was painted only on the inside. The Corps of Engineers also installed an elevator to take visitors from the base to the top of the pedestal.[113]

text: On July 30, 1916, during World War I, German saboteurs set off a disastrous explosion on the Black Tom peninsula in Jersey City, New Jersey, in what is now part of Liberty State Park, close to Bedloe's Island. Carloads of dynamite and other explosives that were being sent to Britain and France for their war efforts were detonated, and seven people were killed. The statue sustained minor damage, mostly to the torch-bearing right arm, and was closed for ten days. The cost to repair the statue and buildings on the island was about US$100,000 (equivalent to $2,200,917 in 2016). The narrow ascent to the torch was closed for public-safety reasons, and it has remained closed ever since.[104]

text: That same year, Ralph Pulitzer, who had succeeded his father Joseph as publisher of the World, began a drive to raise US$30,000 (equivalent to $660,275 in 2016) for an exterior lighting system to illuminate the statue at night. He claimed over 80,000 contributors, but failed to reach the goal. The difference was quietly made up by a gift from a wealthy donor—a fact that was not revealed until 1936. An underwater power cable brought electricity from the mainland and floodlights were placed along the walls of Fort Wood. Gutzon Borglum, who later sculpted Mount Rushmore, redesigned the torch, replacing much of the original copper with stained glass. On December 2, 1916, President Woodrow Wilson pressed the telegraph key that turned on the lights, successfully illuminating the statue.[114]

text: After the United States entered World War I in 1917, images of the statue were heavily used in both recruitment posters and the Liberty Bond drives that urged American citizens to support the war financially. This impressed upon the public the war's stated purpose—to secure liberty—and served as a reminder that embattled France had given the United States the statue.[115]

text: In 1924, President Calvin Coolidge used his authority under the Antiquities Act to declare the statue a National Monument.[107] The only successful suicide in the statue's history occurred five years later, when a man climbed out of one of the windows in the crown and jumped to his death, glancing off the statue's breast and landing on the base.[116]

text: Early National Park Service years (1933–1982)

text: In 1933, President Franklin Roosevelt ordered the statue to be transferred to the National Park Service (NPS). In 1937, the NPS gained jurisdiction over the rest of Bedloe's Island.[107] With the Army's departure, the NPS began to transform the island into a park.[117] The Works Progress Administration (WPA) demolished most of the old buildings, regraded and reseeded the eastern end of the island, and built granite steps for a new public entrance to the statue from its rear. The WPA also carried out restoration work within the statue, temporarily removing the rays from the statue's halo so their rusted supports could be replaced. Rusted cast-iron steps in the pedestal were replaced with new ones made of reinforced concrete;[118] the upper parts of the stairways within the statue were replaced, as well. Copper sheathing was installed to prevent further damage from rainwater that had been seeping into the pedestal.[119] The statue was closed to the public from May until December 1938.[118]

text: During World War II, the statue remained open to visitors, although it was not illuminated at night due to wartime blackouts. It was lit briefly on December 31, 1943, and on D-Day, June 6, 1944, when its lights flashed "dot-dot-dot-dash", the Morse code for V, for victory. New, powerful lighting was installed in 1944–1945, and beginning on V-E Day, the statue was once again illuminated after sunset. The lighting was for only a few hours each evening, and it was not until 1957 that the statue was illuminated every night, all night.[120] In 1946, the interior of the statue within reach of visitors was coated with a special plastic so that graffiti could be washed away.[119]

text: In 1956, an Act of Congress officially renamed Bedloe's Island as Liberty Island, a change advocated by Bartholdi generations earlier. The act also mentioned the efforts to found an American Museum of Immigration on the island, which backers took as federal approval of the project, though the government was slow to grant funds for it.[121] Nearby Ellis Island was made part of the Statue of Liberty National Monument by proclamation of President Lyndon Johnson in 1965.[107] In 1972, the immigration museum, in the statue's base, was finally opened in a ceremony led by President Richard Nixon. The museum's backers never provided it with an endowment to secure its future and it closed in 1991 after the opening of an immigration museum on Ellis Island.[94]

text: In 1970, Ivy Bottini led a demonstration at the statue where she and others from the National Organization for Women's New York chapter draped an enormous banner over a railing which read "WOMEN OF THE WORLD UNITE!"[122][123]

text: Beginning December 26, 1971, 15 anti-Vietnam War veterans occupied the statue, flying a US flag upside down from her crown. They left December 28 following a Federal Court order.[124] The statue was also several times taken over briefly by demonstrators publicizing causes such as Puerto Rican independence, opposition to abortion, and opposition to US intervention in Grenada. Demonstrations with the permission of the Park Service included a Gay Pride Parade rally and the annual Captive Baltic Nations rally.[125]

text: A powerful new lighting system was installed in advance of the American Bicentennial in 1976. The statue was the focal point for Operation Sail, a regatta of tall ships from all over the world that entered New York Harbor on July 4, 1976, and sailed around Liberty Island.[126] The day concluded with a spectacular display of fireworks near the statue.[127]

text: Renovation and rededication (1982–2000)

text: The statue was examined in great detail by French and American engineers as part of the planning for its centennial in 1986.[128] In 1982, it was announced that the statue was in need of considerable restoration. Careful study had revealed that the right arm had been improperly attached to the main structure. It was swaying more and more when strong winds blew and there was a significant risk of structural failure. In addition, the head had been installed 2 feet (0.61 m) off center, and one of the rays was wearing a hole in the right arm when the statue moved in the wind. The armature structure was badly corroded, and about two percent of the exterior plates needed to be replaced.[129] Although problems with the armature had been recognized as early as 1936, when cast iron replacements for some of the bars had been installed, much of the corrosion had been hidden by layers of paint applied over the years.[130]

text: In May 1982, President Ronald Reagan announced the formation of the Statue of Liberty–Ellis Island Centennial Commission, led by Chrysler Corporation chair Lee Iacocca, to raise the funds needed to complete the work.[131] Through its fundraising arm, the Statue of Liberty–Ellis Island Foundation, Inc., the group raised more than $350 million in donations.[132] The Statue of Liberty was one of the earliest beneficiaries of a cause marketing campaign. A 1983 promotion advertised that for each purchase made with an American Express card, the company would contribute one cent to the renovation of the statue. The campaign generated contributions of $1.7 million to the restoration project.[133]

text: In 1984, the statue was closed to the public for the duration of the renovation. Workers erected the world's largest free-standing scaffold,[28] which obscured the statue from view. Liquid nitrogen was used to remove layers of paint that had been applied to the interior of the copper skin over decades, leaving two layers of coal tar, originally applied to plug leaks and prevent corrosion. Blasting with baking soda powder removed the tar without further damaging the copper.[134] The restorers' work was hampered by the asbestos-based substance that Bartholdi had used—ineffectively, as inspections showed—to prevent galvanic corrosion. Workers within the statue had to wear protective gear, dubbed "moon suits", with self-contained breathing circuits.[135] Larger holes in the copper skin were repaired, and new copper was added where necessary.[136] The replacement skin was taken from a copper rooftop at Bell Labs, which had a patina that closely resembled the statue's; in exchange, the laboratory was provided some of the old copper skin for testing.[137] The torch, found to have been leaking water since the 1916 alterations, was replaced with an exact replica of Bartholdi's unaltered torch.[138] Consideration was given to replacing the arm and shoulder; the National Park Service insisted that they be repaired instead.[139] The original torch was removed and replaced in 1986 with the current one, whose flame is covered in 24-carat gold.[31] The torch reflects the sun's rays in daytime and is lighted by floodlights at night.[31]

text: The entire puddled iron armature designed by Gustave Eiffel was replaced. Low-carbon corrosion-resistant stainless steel bars that now hold the staples next to the skin are made of Ferralium, an alloy that bends slightly and returns to its original shape as the statue moves.[140] To prevent the ray and arm making contact, the ray was realigned by several degrees.[141] The lighting was again replaced—night-time illumination subsequently came from metal-halide lamps that send beams of light to particular parts of the pedestal or statue, showing off various details.[142] Access to the pedestal, which had been through a nondescript entrance built in the 1960s, was renovated to create a wide opening framed by a set of monumental bronze doors with designs symbolic of the renovation.[143] A modern elevator was installed, allowing handicapped access to the observation area of the pedestal.[144] An emergency elevator was installed within the statue, reaching up to the level of the shoulder.[145]

text: July 3–6, 1986, was designated "Liberty Weekend", marking the centennial of the statue and its reopening. President Reagan presided over the rededication, with French President François Mitterrand in attendance. July 4 saw a reprise of Operation Sail,[146] and the statue was reopened to the public on July 5.[147] In Reagan's dedication speech, he stated, "We are the keepers of the flame of liberty; we hold it high for the world to see."[146]

text: Closures and reopenings (2001–present)

text: Following the September 11 attacks, the statue and Liberty Island were immediately closed to the public. The island reopened at the end of 2001, while the pedestal and statue remained off-limits. The pedestal reopened in August 2004,[147] but the National Park Service announced that visitors could not safely be given access to the statue due to the difficulty of evacuation in an emergency. The Park Service adhered to that position through the remainder of the Bush administration.[148] New York Congressman Anthony Weiner made the statue's reopening a personal crusade.[149] On May 17, 2009, President Barack Obama's Secretary of the Interior, Ken Salazar, announced that as a "special gift" to America, the statue would be reopened to the public as of July 4, but that only a limited number of people would be permitted to ascend to the crown each day.[148]

text: The statue, including the pedestal and base, closed on October 29, 2011, for installation of new elevators and staircases and to bring other facilities, such as restrooms, up to code. The statue was reopened on October 28, 2012,[1][150][151] only to close again a day later due to Hurricane Sandy.[152] Although the storm did not harm the statue, it destroyed some of the infrastructure on both Liberty Island and Ellis Island, severely damaging the dock used by the ferries bearing visitors to the statue. On November 8, 2012, a Park Service spokesperson announced that both islands would remain closed for an indefinite period for repairs to be done.[153] Due to lack of electricity on Liberty Island, a generator was installed to power temporary floodlights to illuminate the statue at night. The superintendent of Statue of Liberty National Monument, David Luchsinger, whose home on the island was severely damaged, stated that it would be "optimistically ... months" before the island was reopened to the public.[154] The statue and Liberty Island reopened to the public on July 4, 2013.[155] Ellis Island remained closed for repairs for several more months but reopened in late October 2013.[156] For part of October 2013, Liberty Island was closed to the public due to the United States federal government shutdown of 2013, along with other federally funded museums, parks, monuments, construction projects and buildings.[157]

text: On October 7, 2016, construction started on a new Statue of Liberty museum on Liberty Island. The new $70 million, 26,000-square-foot (2,400 m2) museum will be able to accommodate all of the island's visitors when it opens in 2019, as opposed to the current museum, which only 20% of the island's visitors can visit.[158] The original torch will be relocated here, and in addition to exhibits relating to the statue's construction and history, there will be a theater where visitors can watch an aerial view of the statue.[158][159] The museum, designed by FXFOWLE Architects, will integrate with the parkland around it.[159] It is being funded privately by Diane von Fürstenberg, Michael Bloomberg, Jeff Bezos, Coca-Cola, NBCUniversal, the family of Laurence Tisch and Preston Robert Tisch, Mellody Hobson, and George Lucas.[160] Von Fürstenberg heads the fundraising for the museum, and the project had garnered more than $40 million in fundraising as of groundbreaking.[159]

text: Access and attributes

text: Location and tourism

text: The statue is situated in Upper New York Bay on Liberty Island south of Ellis Island, which together comprise the Statue of Liberty National Monument. Both islands were ceded by New York to the federal government in 1800.[161] As agreed in an 1834 compact between New York and New Jersey that set the state border at the bay's midpoint, the original islands remain New York territory despite their location on the New Jersey side of the state line. Liberty Island is one of the islands that are part of the borough of Manhattan in New York. Land created by reclamation added to the 2.3 acres (0.93 ha) original island at Ellis Island is New Jersey territory.[162]

text: No charge is made for entrance to the national monument, but there is a cost for the ferry service that all visitors must use, as private boats may not dock at the island. A concession was granted in 2007 to Statue Cruises to operate the transportation and ticketing facilities, replacing Circle Line, which had operated the service since 1953.[163] The ferries, which depart from Liberty State Park in Jersey City and Battery Park in Lower Manhattan, also stop at Ellis Island when it is open to the public, making a combined trip possible.[164] All ferry riders are subject to security screening, similar to airport procedures, prior to boarding.[165] Visitors intending to enter the statue's base and pedestal must obtain a complimentary museum/pedestal ticket along with their ferry ticket.[166] Those wishing to climb the staircase within the statue to the crown purchase a special ticket, which may be reserved up to a year in advance. A total of 240 people per day are permitted to ascend: ten per group, three groups per hour. Climbers may bring only medication and cameras—lockers are provided for other items—and must undergo a second security screening.[167]

text: Inscriptions, plaques, and dedications

text: There are several plaques and dedicatory tablets on or near the Statue of Liberty.

text:
A plaque on the copper just under the figure in front declares that it is a colossal statue representing Liberty, designed by Bartholdi and built by the Paris firm of Gaget, Gauthier et Cie (Cie is the French abbreviation analogous to Co.). [168]
A presentation tablet, also bearing Bartholdi's name, declares the statue is a gift from the people of the Republic of France that honors "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."[168]
A tablet placed by the New York committee commemorates the fundraising done to build the pedestal.[168]
The cornerstone bears a plaque placed by the Freemasons.[168]
In 1903, a bronze tablet that bears the text of Emma Lazarus's sonnet, "The New Colossus" (1883), was presented by friends of the poet. Until the 1986 renovation, it was mounted inside the pedestal; today it resides in the Statue of Liberty Museum, in the base.[168]
"The New Colossus" tablet is accompanied by a tablet given by the Emma Lazarus Commemorative Committee in 1977, celebrating the poet's life.[168]

text: A group of statues stands at the western end of the island, honoring those closely associated with the Statue of Liberty. Two Americans—Pulitzer and Lazarus—and three Frenchmen—Bartholdi, Eiffel, and Laboulaye—are depicted. They are the work of Maryland sculptor Phillip Ratner.[169]

text: UNESCO World Heritage Site

text: In 1984, the Statue of Liberty was designated a UNESCO World Heritage Site. The UNESCO "Statement of Significance" describes the statue as a "masterpiece of the human spirit" that "endures as a highly potent symbol—inspiring contemplation, debate and protest—of ideals such as liberty, peace, human rights, abolition of slavery, democracy and opportunity."[170]

text: Physical characteristics

text:
Feature[72]
U.S.
Metric

Height of copper statue
151 ft 1 in
46 m

Foundation of pedestal (ground level) to tip of torch
305 ft 1 in
93 m

Heel to top of head
111 ft 1 in
34 m

Height of hand
16 ft 5 in
5 m

Index finger
8 ft 1 in
2.44 m

Circumference at second joint
3 ft 6 in
1.07 m

Head from chin to cranium
17 ft 3 in
5.26 m

Head thickness from ear to ear
10 ft 0 in
3.05 m

Distance across the eye
2 ft 6 in
0.76 m

Length of nose
4 ft 6 in
1.48 m

Right arm length
42 ft 0 in
12.8 m

Right arm greatest thickness
12 ft 0 in
3.66 m

Thickness of waist
35 ft 0 in
10.67 m

Width of mouth
3 ft 0 in
0.91 m

Tablet, length
23 ft 7 in
7.19 m

Tablet, width
13 ft 7 in
4.14 m

Tablet, thickness
2 ft 0 in
0.61 m

Height of pedestal
89 ft 0 in
27.13 m

Height of foundation
65 ft 0 in
19.81 m

Weight of copper used in statue
60,000 pounds
27.22 tonnes

Weight of steel used in statue
250,000 pounds
113.4 tonnes

Total weight of statue
450,000 pounds
204.1 tonnes

Thickness of copper sheeting
3/32 of an inch
2.4 mm

text: Depictions

text: Hundreds of replicas of the Statue of Liberty are displayed worldwide.[171] A smaller version of the statue, one-fourth the height of the original, was given by the American community in Paris to that city. It now stands on the Île aux Cygnes, facing west toward her larger sister.[171] A replica 30 feet (9.1 m) tall stood atop the Liberty Warehouse on West 64th Street in Manhattan for many years;[171] it now resides at the Brooklyn Museum.[172] In a patriotic tribute, the Boy Scouts of America, as part of their Strengthen the Arm of Liberty campaign in 1949–1952, donated about two hundred replicas of the statue, made of stamped copper and 100 inches (2,500 mm) in height, to states and municipalities across the United States.[173] Though not a true replica, the statue known as the Goddess of Democracy temporarily erected during the Tiananmen Square protests of 1989 was similarly inspired by French democratic traditions—the sculptors took care to avoid a direct imitation of the Statue of Liberty.[174] Among other recreations of New York City structures, a replica of the statue is part of the exterior of the New York-New York Hotel and Casino in Las Vegas.[175]

text: As an American icon, the Statue of Liberty has been depicted on the country's coinage and stamps. It appeared on commemorative coins issued to mark its 1986 centennial, and on New York's 2001 entry in the state quarters series.[176] An image of the statue was chosen for the American Eagle platinum bullion coins in 1997, and it was placed on the reverse, or tails, side of the Presidential Dollar series of circulating coins.[26] Two images of the statue's torch appear on the current ten-dollar bill.[177] The statue's intended photographic depiction on a 2010 forever stamp proved instead to be of the replica at the Las Vegas casino.[178]

text: Depictions of the statue have been used by many regional institutions. Between 1986[179] and 2000,[180] New York State issued license plates with an outline of the statue to either the front or the side of the serial number.[179][180] The Women's National Basketball Association's New York Liberty use both the statue's name and its image in their logo, in which the torch's flame doubles as a basketball.[181] The New York Rangers of the National Hockey League depicted the statue's head on their third jersey, beginning in 1997.[182] The National Collegiate Athletic Association's 1996 Men's Basketball Final Four, played at New Jersey's Meadowlands Sports Complex, featured the statue in its logo.[183] The Libertarian Party of the United States uses the statue in its emblem.[184]

text: The statue is a frequent subject in popular culture. In music, it has been evoked to indicate support for American policies, as in Toby Keith's song "Courtesy of the Red, White and Blue (The Angry American)", and in opposition, appearing on the cover of the Dead Kennedys' album Bedtime for Democracy, which protested the Reagan administration.[185] In film, the torch is the setting for the climax of director Alfred Hitchcock's 1942 movie Saboteur.[186] The statue makes one of its most famous cinematic appearances in the 1968 picture Planet of the Apes, in which it is seen half-buried in sand.[185][187] It is knocked over in the science-fiction film Independence Day [188] and in Cloverfield the head is ripped off.[189] In Jack Finney's time-travel novel Time and Again, the right arm of the statue, on display in the early 1880s in Madison Square Park, plays a crucial role.[190] Robert Holdstock, consulting editor of The Encyclopedia of Science Fiction, wondered in 1979,

text: Where would science fiction be without the Statue of Liberty? For decades it has towered or crumbled above the wastelands of deserted [E]arth—giants have uprooted it, aliens have found it curious ... the symbol of Liberty, of optimism, has become a symbol of science fiction's pessimistic view of the future.[191]


document_title: Cry-Baby

question_text: who sang for johnny depp in cry baby

question_tokens: who sang for johnny depp in cry baby

root

text: Cry-Baby

text: Plot[edit]

text: In 1954 Baltimore, Wade "Cry-Baby" Walker is the leader of a gang of "drapes", which includes his sister Pepper, a teenage mother; Mona "Hatchet Face" Malnorowski, who is facially disfigured; Wanda Woodward, who is constantly embarrassed by her post World War II normal parents; and Milton Hackett, Hatchet Face's devoted boyfriend. Walker's ability to shed a single tear drives all the girls wild. One day after school, he is approached by Allison Vernon-Williams, a pretty girl tired of being a "square", and the two fall in love. That same day, Cry-Baby approaches the "square" part of town to a talent show at the recreation center where Allison's grandmother hosts events, and introduces himself to her, who is skeptical of his motives. Cry-Baby invites Allison to a party at Turkey Point, a local hangout spot for the drapes.

tag: p

text: Despite her grandmother's skepticism, Allison accompanies Cry-Baby to Turkey Point and sings with the drapes. As Cry-Baby and Allison tell each other about their orphan lives; Cry-Baby's father was sent to the electric chair after being the "Alphabet Bomber" – a killer who bombed places in alphabetical order and his mother tried to stop him, but also got sent to the electric chair as a result; Allison's parents took separate flights to avoid orphaning her if they crashed, but both their planes went down. Allison's jealous square boyfriend, Baldwin, then starts a riot. Cry-Baby is blamed for the fight and sent to a penitentiary, outraging all his friends and even Allison's grandmother, who is impressed by Cry-Baby's posture, manners, and musical talent.

text: As Lenora Frigid, a loose girl with a crush on Cry-Baby, but constantly rejected by him, claims to be pregnant with his child, Allison feels betrayed and returns to Baldwin and the squares, though her grandmother advises her against rushing into a decision. Meanwhile, in the penitentiary, Cry-Baby gets a teardrop tattoo. He tells the tattoo artist, fellow drape Dupree (Robert Tyree): "I've been hurt all my life, but real tears wash away. This one's for Allison, and I want it to last forever!".

text: Eventually after performing with Baldwin and the Whiffles, Allison is persuaded by the newly established alliance between the Drapes and her grandmother to stand by Cry-Baby and join the campaign for his release. Cry-Baby is released, but immediately insulted by Baldwin, who after revealing that his grandfather is the one who electrocuted Cry-Baby's father, challenges him to a chicken race. Cry-Baby wins, as Baldwin chickens out, and is reunited with Allison.

text: The film ends with all watching the chicken race crying a single tear, except for Allison and Cry-Baby, who has finally let go of the past, enabling him to cry from both eyes.

text: Cast[edit]

text:
Johnny Depp as Wade "Cry-Baby" Walker

James Intveld as Cry-Baby's singing voice

Amy Locane as Allison Vernon-Williams

Rachel Sweet as Allison's singing voice

Polly Bergen as Mrs. Vernon-Williams
Ricki Lake as Pepper Walker
Traci Lords as Wanda Woodward
Kim McGuire as Mona "Hatchet-Face" Malnorowski
Darren E. Burrows as Milton Hackett
Susan Tyrrell as Ramona Rickettes
Iggy Pop as Belvedere Rickettes
Kim Webb as Lenora Frigid
Stephen Mailer as Baldwin
Alan J. Wendl as Toe-Joe Jackson
Jonathan Benya as Snare-Drum
Jessica Raskin as Susie Q
Troy Donahue as Mr. Malnorowski
Mink Stole as Mrs. Malnorowski
Joe Dallesandro as Mr. Hackett
Joey Heatherton as Mrs. Hackett
David Nelson as Mr. Woodward
Patricia Hearst as Mrs. Woodward
Robert Tyree as Dupree
Robert Walsh as Judge
Willem Dafoe as Hateful guard

tag: ul

text: Musical numbers[edit]

text:
"Women in Cadillacs" – Doc Starkes and The Night Riders *(sung along)* – Cry-Baby
"Gee" – The Crows *(sung along)* – Cry-Baby, Hatchet-Face, Milton, Pepper, Wanda
"Sh-Boom" – Baldwin, the Whiffles
"A Teenage Prayer" – Allison
"King Cry-Baby" – Cry-Baby, Allison, Hatchet-Face, Milton, Pepper, Wanda
"Teardrops Are Falling" – Cry-Baby, Dupree, Prisoners
"Doin' Time for Bein' Young" – Cry-Baby, Prisoners
"The Naughty Lady of Shady Lane" (Director's Cut) – Baldwin, the Whiffles
"Mr. Sandman" – Allison, Baldwin, the Whiffles
"Please, Mr. Jailer" – Allison, Cry-Baby, Company, Prisoners
"Chicken" (deleted scene) – Baldwin, the Whiffles
"High School Hellcats" – Cry-Baby, Allison, Pepper, Company

tag: ol

text: Release[edit]

text: Cry-Baby was screened out of competition at the 1990 Cannes Film Festival.[4]

text: Critical reception[edit]

text: The film received positive reviews from critics. On Rotten Tomatoes, it currently holds a 73% score, based on 55 reviews, with an average rating of 6.6/10. The site's consensus states: "John Waters' musical ode to the teen rebel genre is infectious and gleefully camp, providing star Johnny Depp with the perfect vehicle in which to lampoon his pin-up image."[5] Roger Ebert of the Chicago Sun-Times awarded the film 3 out of 4 stars.[6]

text: Box office[edit]

text: The film opened on April 6, 1990 in 1,229 North American cinemas — an unprecedented number for a John Waters film. In its opening weekend, it grossed a soft $3,004,905 ($2,445 per screen) and grossed $8,266,343 by the end of its theatrical run,[3] making it a box office flop from its $12 million budget.[2]

text: Musical adaptation[edit]

text: Cry-Baby is the second of Waters' films to be adapted for the stage as a musical comedy (following Hairspray).

text: Legacy[edit]

text: Cry-Baby was the main inspiration for It Was Romance frontperson Lane Moore's music video to her first single, "Philadelphia", with Moore playing both Traci Lords and Johnny Depp's characters from the film.[7]


document_title: Social class in ancient Rome

question_text: who formed the highest social class of republican and early imperial rome

text: Social class in ancient Rome

text: Patricians and plebeians[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2011) (Learn how and when to remove this template message)

tag: table

text: In the Roman Kingdom and the early Roman Republic the most important division in Roman society was between the patricians and the plebeians. The patricians were a small elite whose ancestry was traced to the first Senate established by Romulus,[3] who monopolised political power. The plebeians comprised the majority of Roman citizens (see below). Adult males who were not Roman citizens, whether free or slave, fall outside this division. Women and children were also not citizens, but took the social status of their father or husband, which granted them various rights and protections not available to the women and children of men of lower rank.

text: The distinction between patricians and plebeians in Ancient Rome was based purely on birth. Although modern writers often portray patricians as rich and powerful families who managed to secure power over the less-fortunate plebeian families, plebeians and patricians among the senatorial class were equally wealthy. As civil rights for plebeians increased during the middle and late Roman Republic, many plebeian families had attained wealth and power while some traditionally patrician families had fallen into poverty and obscurity.  The first Roman Emperor, Augustus, was of plebeian origin, as were many of his successors. By the Late Empire, few members of the Senate were from the original patrician families, most of which had died out. Rome continued to have a hierarchical class system, but it was no longer dominated by the distinction between patricians and plebeians.

text: Originally, all public offices were open only to patricians, and the classes could not intermarry. Plebeians and Patricians were always at odds due to the fact that Plebeians wanted to increase their power.[4] A series of social struggles (see Conflict of the Orders) saw the plebs secede from the city on three occasions, the last in 297 BC, until their demands were met. They won the right to stand for office, the abolition of the intermarriage law, and the creation of office of tribune of the plebs. This office, founded in 494 BC as a result of a plebeian secession, was the main legal bulwark against the powers of the patrician class, and only plebeians were eligible. The tribunes originally had the power to protect any plebeian from a patrician magistrate. Later revolts forced the Senate to grant the tribunes additional powers, such as the right to veto legislation. A tribune’s person was sacrosanct, and he was obliged to keep an open house at all times while in office. Some patricians, notably Clodius Pulcher in the late 60s BC, petitioned to be assigned plebeian status, in order to accumulate the political influence among the people that the office of tribune afforded. The conflict between the classes came to a climax in 287 BC when patricians and plebeians were declared equal under the law.

text: Following these changes the distinction between patrician and plebeian status became less important, and by the Late Republic the only patrician prerogatives were certain priesthoods. Over time, some patrician families declined, some plebeian families rose in status, and the composition of the ruling class changed. A plebeian who was the first of his line to become consul was known as a novus homo (“new man”), and he and his descendants became “noble” (nobiles). Notable examples of novi homines are the seven-time consul Marius, and Cicero, whose rise was unusual in that it was driven by his oratorical and intellectual abilities rather than, as with Marius, military success. During the Empire, patricius became a title of nobility bestowed by emperors.[5][6]

text: Property-based classes[edit]

text: The census divided citizens into six complex classes based on property. The richest were the senatorial class, who during the Late Republic had to be worth at least 400,000 sestertii, the same as the equites; when Augustus reformed the senate during the first years of the Principate, he raised the property requirement to 1,000,000 sestertii.[7] The wealth of the senatorial class was based on ownership of large agricultural estates, and by custom members did not engage in commercial activity.

text: Below the senatores in rank, but above others were the equites (“equestrians” or “knights”), with 400,000 sestertii, who could engage in commerce and formed an influential business class. Certain political and quasi-political positions were filled by equites, including tax farming and, under the Principate, leadership of the Praetorian Guard. Below the equites were three more classes of property-owning citizens; and lastly the proletarii, whose property was valued below 11,000 asses.[8]

text:
Analysis of Roman Centuriate Organisation 509-241 BC *[9]

Class

Census property rating
money (property)

Electoralassemblyvotes perperson

Military Equipment
(self-supplied)

Patricians (historical aristocracy)

Senatores

400,000 sestertii (1,000,0000 sestertii)

Equites**

400,000 sestertii

Horse, ...

Plebeians (commoners)

First (triarii)

100,000 As (100 iugera)

2

Helm, round shield, cuirass, greaves, sword, and spear.

Second (principes)

75,000 As (75 iugera)

1

Helm, round shield, greaves, sword and spear.

Third (hastati)

50,000 As (50 iugera)

1

Helm, oblong shield, sword and spear.

Fourth (leves)

25,000 As (25 iugera)

1

Oblong shield, spear or sword, javelin

Fifth

11,000 As (11 iugera)12,500 As (12 iugera)

1

Slings (accensi) or javelins (velites)

Proles (landless poor)

Proletarii

below 11,000 asses

Fleets (oarsmen)

* This was the system of the Centuriate Assembly and was the practice of the Servian constitution. Information arranged by Tim Cornell based on the works of Livy, Polybius, and Dionysius of Hallicarnasus. For a contrasting version of the same or similar data, see the table in the Equites article.

** The equites class was available for both plebeians and patricians, and favored by ambitious young men in both groups.

At the period this was valid 1 Denarius was worth about 10 As; Luuk de Ligt puts the value of an iugerium at 1,000 As or 100 denarii as a recommended baseline because values fluctuate a lot and because of many factors.[10]

text: Citizenship[edit]

text: Women[edit]

text: Free-born women in ancient Rome were citizens (cives), but could not vote or hold political office.[11] The form of Roman marriage called conubium, for instance, requires that both spouses be citizens; like men from towns granted civitas sine suffragio, women eligible for legal marriage were citizens without suffrage. The legal status of a mother as a citizen affected her son's citizenship.[12] The phrase ex duobus civibus Romanis natos (“children born of two Roman citizens”) indicates that a Roman woman was regarded as having citizen status, in specific contrast to a peregrina.

text: Latin Right[edit]

text: The Latin Right was a form of citizenship with limited rights. It was conferred originally on the allied towns of Latium in the Republican era, and gradually extended to communities throughout the Empire. Latin citizens had rights, but not the vote, although their leading magistrates could become full citizens.

text: Peregrini[edit]

text: Free-born foreign subjects were known as peregrini, and special laws existed to govern their conduct and disputes. These distinctions continued until 212 AD, when Caracalla extended full Roman citizenship to all free-born men in the empire.

text: Slaves[edit]

text: Slaves (servi) were not citizens, and lacked even the legal standing accorded free-born foreigners. For the most part, slaves descended from debtors and from prisoners of war, especially women and children captured during sieges and other military campaigns in Greece, Italy, Spain, and Carthage. In the later years of the Republic and into the Empire, more slaves came from newly conquered areas of Gaul, Britain, North Africa, and Asia Minor. Many slaves were created as the result of Rome's conquest of Greece, but Greek culture was considered in some respects superior to that of Rome: hence Horace's famous remark Graecia capta ferum victorem cepit ("Captured Greece took her savage conqueror captive"). The Roman playwright Terence is thought to have been brought to Rome as a slave. Thus slavery was regarded as a circumstance of birth, misfortune, or war; it was defined in terms of legal status, or rather the lack thereof, and was neither limited to or defined by ethnicity or race, nor regarded as an inescapably permanent condition.

text: Slaves who lacked skills or education performed agricultural or other forms of manual labor. Those who were violent or disobedient, or who for whatever reason were considered a danger to society, might be sentenced to labor in the mines, where they suffered under inhumane conditions. Slaves subjected to harsh labor conditions also had few if any opportunities to obtain their freedom.

text: Since slaves were legally property, they could be disposed of by their owners at any time. All children born to female slaves were slaves. Some slave owners, as for instance Tacitus,[citation needed] freed slaves whom they believed to be their natural children. Slaves who had the education or skills to earn a living were often manumitted upon the death of their owner as a condition of his will. Slaves who conducted business for their masters were also permitted to earn and save money for themselves, and some might be able to buy their own freedom.

text: Over time, legislation was passed to protect the lives and health of slaves. Although many prostitutes were slaves, for instance, the bill of sale for some slaves stipulated that they could not be used for commercial prostitution.[13]

text: Freed men[edit]

text:
Freed men (liberti) were freed slaves, whose free-born children were full citizens. The status of liberti developed throughout the Republic as their number increased. Livy states[citation needed] that freedmen in the Early Republic mainly joined the lower classes of the plebeians. Juvenal, writing during the Empire when financial
Freedmen were often highly educated and made up the bulk of the civil service during the early Empire. The Augustan poet Horace was himself the child of a freedman from Venusia in southern Italy. Many became enormously wealthy as the result of bribes, fraud, or other forms of corruption, or were given large estates by the Emperor they served.[citation needed] Other freedmen engaged in commerce, amassing vast fortunes often only rivalled by those of the wealthiest nobiles. Many of the Satires of Juvenal contain angry denouncements of the pretensions of wealthy freedmen, some 'with the chalk of the slave market still on their heel'. Juvenal saw these successful men as nouveaux riches who were far too ready to show off their (often ill-gotten) wealth. Another famous caricature is seen in the absurdly extravagant character of Trimalchio in Satyricon. The majority of freedmen, however, joined the plebeian classes, and often worked as farmers or tradesmen.


document_title: Dennis Rickman

question_text: who killed dennis rickman in eastenders in 2005

text: Dennis Rickman

text: Storylines[edit]

text: Dennis, the product of a fling between Paula Rickman and Den Watts (Leslie Grantham), was born in 1974 and makes his first appearance in handcuffs in April 2003, as he is on day release from prison to attend his mother's funeral. It is gradually revealed that he was neglected as a child by his mother and abused by a succession of her boyfriends, and spent some time living in a children's home. Den was unaware that he had a son, and by the time Dennis meets Den's daughters Sharon and Vicki, 14 years have passed since Den's disappearance and supposed death.

text: His introduction as a full-time character is marked by a fight with Phil Mitchell (Steve McFadden), in which he floors Phil with a single punch. This launches a rivalry with Phil which continues when Phil reneged on an agreement to meet Dennis for a fight at Phil's garage by bringing several associates who give Dennis a severe beating. Dennis infuriates Phil by seducing his sister Sam Mitchell (Kim Medcalf), his wife-to-be Kate Morton (Jill Halfpenny) (who is a former flame of Dennis's) and his daughter's nanny, Joanne Ryan (Tara Lynne O'Neill). The rivalry with Phil is concluded by Dennis's father Den when he returns from Spain. Den and Dennis trick Phil into committing an armed robbery at a local factory. They then abscond with the escape ladder and most of the cash, though Den leaves Phil with a few stolen notes and a gun to incriminate him. The feud brings Dennis closer to his father.

text: Dennis sees East End ganglord Jack Dalton (Hywel Bennett) as a father figure as he worked for him collecting debts, amongst other things, and his prison stint is due to working for Jack. After Dennis's release, Jack orders Phil to kill Dennis after he becomes independent of him. Dennis persuades Phil to kill Jack instead so they can both be free of him. Dennis marches him out into the woods at gunpoint and, following Dalton's admission that he ordered Den's murder in the 1980s, shoots him in the head. Dennis remains friends with Dalton's second-in-command, Andy Hunter (Michael Higgs), and is left the bookmakers in Andy's will after his death at the hands of Johnny Allen (Billy Murray).

text: Dennis has a passionate fling with Den's adopted daughter Sharon Watts (Letitia Dean) on the eve of Den's return but finds himself rejected when Den replaces him. They resume their affair in secret but Den cannot accept a relationship between his children and plots to split them up. Den taunts Dennis with the insinuation that someone had sexually abused him while he was in a children's home, successfully provoking Dennis into accidentally hitting Sharon. A guilt-ridden Den later apologises and explains his reasons for not wanting his son and daughter together, because he wants both of them in his life and he cannot have that if they are sleeping together. Den then tries to explain to Dennis that his feelings for Sharon are simply misguided due to the abuse he suffered as a child, which leaves Dennis confused and he decides to break up with Sharon in order to have a father-son relationship.

text: Despite Sharon's heartache, the Watts reform their strong bond, including the introduction of Den's new wife Chrissie Watts (Tracy-Ann Oberman). Dennis moves in with Zoe Slater (Michelle Ryan) but cannot reciprocate her love and Sharon seduces him again. They continue their affair in secret behind Zoe and Den's backs they become sick of sneaking around and they plan to leave on Christmas Day. When they announce that they are in love and going to America together, Zoe, desperate to keep Dennis, announces that she is pregnant. Dennis does not want to be an absent father to the baby, so Sharon leaves without him. He stays with Zoe but refuses to sleep with her. She is desperate to get pregnant for real and resorts to sleeping with Den. Dennis catches them in bed and leaves after informing Chrissie about Den and Zoe.

text: Dennis and Sharon return as a couple, after several months away and demand to see Den. Dennis sees through Chrissie's story that Den has left her for another woman but drops the matter to spare Sharon's feelings. Dennis and Sharon go on to marry, and following this, they learn that Sam Mitchell had exhumed their father's body from his grave in the cellar of The Queen Victoria public house. Den was murdered by Chrissie after she, Zoe and Sam confronted him about his manipulation of lies regarding the three of them (Den had tricked Sam into selling him The Queen Victoria). Chrissie had also lured Sharon back to overhear Den's confessions so that Den would lose the one person in his life that he truly loved. Den attacked Chrissie and Zoe hit Den with a doorstop to stop him. Den then grabbed Chrissie who delivered a fatal blow, leaving Zoe to believe she had killed him. The three women then buried his body in the basement. Dennis and Sharon bring Chrissie to justice and sell The Queen Victoria back to the Mitchells, apparently concluding the Watts/Mitchell feud.

text: On Christmas Day 2005, Sharon is admitted to hospital with suspected food poisoning, but finds out she is pregnant, despite the previous belief that she was infertile. They prepare to leave on New Year's Eve to start a new life in the United States. Sharon does not tell Dennis that Johnny has threatened to kill him if they have not gone by midnight, but she confides in Phil, who then uses Dennis as a weapon against Johnny. Phil tells Dennis about Johnny threatening Sharon and also that Johnny had murdered Andy. Although Dennis realises Phil was manipulating him, he takes the bait anyway and beats Johnny to the brink of death. Johnny begs for help as he thinks he will die, so Dennis tosses him a mobile phone and says if he can reach it, he will live. Johnny is able to reach the phone and instead of calling for medical assistance, he contacts a henchman to murder Dennis as revenge for his beating.

text: After cleaning his hands of Johnny's blood, Dennis makes his way towards the Albert Square Gardens where the locals are setting up fireworks, to meet Sharon. As they lock eyes, Dennis is stabbed and collapses, dying in Sharon's arms. His last words are "we did it" in reference to their unborn son who was born six months later and named Dennis in honour of his father. It is later revealed that Dennis was killed by Danny Moon (Jake Maskall).

text: In October 2012, Derek Branning (Jamie Foreman) blurts out that Dennis was murdered, not knowing that Sharon's son Dennis Rickman Jr ([[Harry Hickles/Bleu Landau) overheard him. Dennis is upset after learning the truth of his father's death, as he was told by Sharon that his father was a helicopter pilot and died while saving others. Sharon admits to Dennis Jr that she lied to protect him, and although he is angry, he eventually forgives her.

text: On 15 January 2014, Phil confessed to Sharon that he was responsible for Dennis' death. Sharon is furious, but then goes to visit Dennis' grave for the last time. She then reveals that she needs to leave Dennis in her past, as Phil is now her future.

text: Character creation[edit]

text: Dennis Rickman was created by the show's producers as the hardman successor to the character of Steve Owen, who had bowed out during the previous year.[4] It was also part of a move to bring the Watts family back to the forefront of EastEnders, with the re-introduction of Vicki Fowler occurring at the beginning of 2003, and the highly anticipated return of Den Watts in September.[5][6] Executive producer Louise Berridge was also keen to rectify what she felt was a gender imbalance in the cast, commenting after his arrival that Dennis had "provided a surge of testosterone in a show that was rather female-heavy since the arrival of the Slaters."[4]

text: Casting[edit]

text:
"It took weeks of auditions and I didn't have a clue who I was going to play - it was such a secret. When they told me I was playing Den's son, I laughed my head off. It's a real challenge and I know a lot is riding on this."

Nigel Harman[7]

tag: div

text: Harman was working as a lorry driver for supermarket chain Sainsbury when he was cast in the role of Dennis Rickman: "They said: 'You've got the job.' I was sitting there in my Sainsbury's fleece, with Mrs Bloggs's groceries in the back, and I just laughed my arse off."[1] However, Harman revealed in a 2003 interview that he actually auditioned for a character called "Tim",[8] and had no idea that he was set to join the Watts family as the unknown son of the soap's most "iconic" figure, Den Watts.[9] Part of Harman's appeal lay in his dark good looks and appealing physicality. EastEnders executive producer Louise Berridge noted: "We cast Nigel for his tremendous acting ability and his screen presence, but there's no question he's also a very sexy young man."[4] Dennis Rickman's role as "EastEnders beefcake"[10] made Harman uncomfortable. In an interview with The Independent in 2003 he commented on his character's status as a sex symbol: "It's Dennis, not me... I am a bit embarrassed... I don't get off on it. I walk into the living-room in the morning in my jogging pants, with my hair all over the place, and my flatmates say: 'So, you're supposed to be one of the sexiest men in the country?' And I go: 'I know. I don't get it either.'"[1]

text: Character development[edit]

text: Personality[edit]

text: Dennis Rickman was described in a 2004 article as the show's "bad boy pin-up character".[11] The representation of Dennis as "smouldering thug"[12] was apparent from his first appearance in Walford, when he hit resident top dog Phil Mitchell. In an interview with the Daily Mirror Harman declared, "He is a total bastard and if I met him in real life, I'd be bloody scared. [But] that's why he's such a brilliant part."[7] According to the official EastEnders website, "Dennis may well be able to turn on the charm with the ladies, but he has a certain sinister edge."[13]


document_title: Leadership style

question_text: laissez-faire leadership is a style of leadership that is characterized by

text: Leadership style

text: Authoritarian[edit]

text: The authoritarian leadership style keeps main emphasis on the distinction of the authoritarian leader and their followers. These types of leaders make sure to only create a distinct professional relationship.  Direct supervision is what they believe to be key in maintaining a successful environment and follower ship. Authoritarian leadership styles often follow the vision of those that are in control, and may not necessarily be compatible with those that are being led. Authoritarian leaders have a focus on efficiency, as other styles, such as a democratic style, may be seen as a hindrance on progress.

text:
Examples of authoritarian leadership: a police officer directing traffic, a teacher ordering a student to do his or her assignment, and a supervisor instructing a subordinate to clean a workstation. All of these positions require a distinct set of characteristics that give the leader the position to get things in order or get a point across.
Authoritarian Traits: sets goals individually, engages primarily in one-way and downward communication, controls discussion with followers, and dominate interaction.

text: Several studies have confirmed a relationship between bullying, on the one hand, and an autocratic leadership and an authoritarian way of settling conflicts or dealing with disagreements, on the other. An authoritarian style of leadership may create a climate of fear, where there is little or no room for dialogue and where complaining may be considered futile.[3]

text: Paternalistic[edit]

text: The way a paternalistic leader works is by acting as a parental figure by taking care of their subordinates as a parent would. In this style of leadership the leader supplies complete concern for his followers or workers. In return he receives the complete trust and loyalty of his people. Workers under this style of leader are expected to become totally committed to what the leader believes and will not strive off and work independently. The relationship between these co-workers and leader are extremely solid. The workers are expected to stay with a company for a longer period of time because of the loyalty and trust. Not only do they treat each other like family inside the work force, but outside too. These workers are able to go to each other with any problems they have regarding something because they believe in what they say is going to truly help them.[4]

text: One of the downsides to a paternalistic leader is that the leader could start to play favorites in decisions. This leader would include the workers more apt to follow and start to exclude the ones who were less loyal. In today’s market paternalism is more difficult to come by according to Padavic and Earnest who wrote “business dimensional and Organizational Counseling.” They believe this because there have become more lay-offs and stronger unionization. This affects paternalistic leaders because the co-workers may not believe that their jobs are 100% ensured.  When this happens, workers begin to look for bigger and better job opportunities instead of staying at one company for a longer period of time. Because of this, the leader may be thinking that you could be leaving and not fully believe you when you tell them something about a job opportunity. This could put the workers and leader at risk for a bad situation.[4]

text: According to B. M. Bass who wrote Leadership and Performance Beyond Expectations, workers who follow paternalistic leadership also have better organization skills. The leader encourages organization because they allow the workers to complete tasks so that they can stay on top of their work. The workers complete tasks this boosts self-confidence and it makes them work harder to reach a goal and exceed the goal to prove to their boss they are working hard. Having this style of leadership can also help implement a reward system. This system will allow their workers to work even better because there is something for them at the end of the tunnel. While doing this they will also be able to accomplish more work in a set time frame.[4]

text: Democratic[edit]

text: The democratic leadership style consists of the leader sharing the decision-making abilities with group members by promoting the interests of the group members and by practicing social equality.[5]

text: The boundaries of democratic participation tend to be circumscribed by the organization or the group needs and the instrumental value of people's attributes (skills, attitudes, etc.). The democratic style encompasses the notion that everyone, by virtue of their human status, should play a part in the group's decisions. However, the democratic style of leadership still requires guidance and control by a specific leader. The democratic style demands the leader to make decisions on who should be called upon within the group and who is given the right to participate in, make and vote on decisions.[6]

text: Research has found that this leadership style is one of the most effective and creates higher productivity, better contributions from group members and increased group morale. Democratic leadership can lead to better ideas and more creative solutions to problems because group members are encouraged to share their thoughts and ideas. While democratic leadership is one of the most effective leadership styles, it does have some potential downsides. In situations where roles are unclear or time is of the essence, democratic leadership can lead to communication failures and uncompleted projects. Democratic leadership works best in situations where group members are skilled and eager to share their knowledge. It is also important to have plenty of time to allow people to contribute, develop a plan and then vote on the best course of action.[7]

text: Laissez-faire[edit]

text: The laissez-faire leadership style is where all the rights and power to make decisions is fully given to the worker. This was first described by Lewin, Lippitt, and White in 1939, along with the autocratic leadership and the democratic leadership styles.[8]

text: Laissez-faire leaders allow followers to have complete freedom to make decisions concerning the completion of their work.  It allows followers a self-rule, while at the same time offering guidance and support when requested. The laissez-faire leader using guided freedom provides the followers with all materials necessary to accomplish their goals, but does not directly participate in decision making unless the followers request their assistance.[9][unreliable source?]

text: This is an effective style to use when:

text:
Followers are highly skilled, experienced, and educated.
Followers have pride in their work and the drive to do it successfully on their own.
Outside experts, such as staff specialists or consultants are being used.
Followers are trustworthy and experienced.

text: This style should not be used when:

text: The leader cannot or will not provide regular feedback to their followers.[9]

text: Transactional[edit]

text: Transactional leaders focus their leadership on motivating followers through a system of rewards and punishments. There are two factors which form the basis for this system, Contingent Reward and management-by-exception.[citation needed]

text:
Contingent reward provides rewards, materialistic or psychological, for effort and recognizes good performance.
Management-by-exception allows the leader to maintain the status quo. The leader intervenes when subordinates do not meet acceptable performance levels and initiates corrective action to improve performance. Management by exception helps reduce the workload of managers being that they are only called-in when workers deviate from course.

text: This type of leader identifies the needs of their followers and gives rewards to satisfy those needs in exchange of certain level of performance.

text: Transactional leaders focus on increasing the efficiency of established routines and procedures. They are more concerned with following existing rules than with making changes to the organization.

text: A transactional leader establishes and standardizes practices that will help the organization reach:

text:
Maturity
Goal-setting
Efficiency of operation
Increasing productivity.

text: Effect on work teams[edit]

text:
Survey done by Jun Liu, Xiaoyu Liu and Xianju Zeng on the correlation of transactional leadership and how innovations can be affected by team emotions. The research was composed of 90 work teams, with a total of 460 members and 90 team leaders. The study found that there is a relationship between emotions, labor behavior and transactional leadership that affect for the team. Depending on the level of emotions of the team; this can affect the transactional leader in a positive or negative way.
Transactional leaders work better in teams where there is a lower level of emotions going into the project. This is because individuals are able to

text:
Think freely when setting their emotions aside from their work.
Have all of their focus on the given task.

text: A transactional leader is:

text:
Negatively affected when the emotional level is high.
Positively affected when the emotional level is low.

text:
Transactional leadership presents a form of strategic leadership that is important for the organizations development.
Transactional leadership is essential for team innovativeness.

text: Transformational[edit]

text:
A transformational leader is a type of person in which the leader is not limited by his or her followers' perception.[10]
The main objective is to work to change or transform his or her followers' needs and redirect their thinking. Leaders that follow the transformation style of leading, challenge and inspire their followers with a sense of purpose and excitement.[11] Transformational leaders also create a vision of what they aspire to be, and communicate this idea to others (their followers).[citation needed] Schultz and Schultz identify three characteristics of a transformational leader:[citation needed]

text:
Charismatic leadership has a broad field of knowledge, has a self-promoting personality, high/great energy level, and willing to take risk and use irregular strategies in order to stimulate their followers to think independently
Individualized consideration
Intellectual stimulation